Above: A scene from DAS RHEINGOLD, in the Met's classic Otto Schenk production; photo by Ken Howard
A quarter-century has passed since I first experienced a complete performance of Wagner's RING DES NIBELUNGEN as the composer intended it to be seen: over the course of a single week. In fact, though I had seen all the RING operas previously and would see them many times again since, this 1989 Cycle has been the only time to date that I attended a "RING Week".
I was living in Hartford, Connecticut at that point in time, frequently spending long weekends in NYC to attend opera and ballet performances. My friend Paul Reid and I had decided to attended a Met RING Cycle at the end of the 1988-1989 season. There would be a Saturday matinee Cycle plus two week-long Cycles; we were determined to do a RING Week. So when the casting came out, we quickly decided on the 'second cast': we had seen the Hildegard Behrens/James Morris combination in previous performances of the individual operas and they were slated for the first weekly Cycle (as well as the Saturday matinee broadcast Cycle). The second weekly Cycle boasted not only a different Brunnhilde (Eva Marton) and Wotan (Hans Sotin) but 'new' and different casting of several prominent roles: William Johns (Siegfried), Franz Mazura (Alberich), Helga Dernesch (Fricka/Waltraute), Mechthild Gessendorf (Sieglinde), and Gweneth Bean (Erda). James Levine of course was conducting every Cycle.
We ordered our tickets, and then a cast change was announced: Eva Marton had withdrawn and would be replaced by Deborah Polaski. This gave us pause, since at the time neither of us were admirers of Ms. Polaski. We fretted a bit, but it was too late to switch to another Cycle (they had all sold out very quickly). Then came another announcement: Ms. Polaski had withdrawn and the Brunnhilde would now be Dame Gwyneth Jones. We were not thrilled with this announcement either, since Dame Gwyneth had at that time something of a reputation for wobbling vocally. It wasn't until she appeared onstage for Act II of WALKURE that our concerns were allayed: she was magnificent in every regard.
In the days leading up to our Cycle, anticipation built and built. Concerns about leaving my young lover Kenny on his own for a week were swept aside as the idea of seeing the RING in toto was about to become reality. Paul and I had booked (separate) rooms at the Colonial House on West 22nd. I had stayed there several times in recent seasons: a very comfortable and affordable gay guest house. I was leading a promiscuous life then (despite being in a relationship) and the wonderful thing about the Colonial House was: it was hook-up heaven. There was no need to go to a bar or club: there were always men who were ready, willing and able staying at the House. The roof deck, which offered nude sun-bathing, was especially conducive to socializing.
May 1st finally arrived; Paul and I checked in at the Colonial and geared up for our big operatic adventure.
Here's what I wrote about the RHEINGOLD in my diary:
"I am finally seeing the complete RING Cycle in the course of a single week which fulfills a long-held operatic desire. The opening RHEINGOLD was a wonderful evening and set forth high expectations for the evenings to come. Levine's skillful conducting and the excellent playing of the Met orchestra were a major factor in this magnificent Wagnerian evening. The production is visually engrossing, especially the opening scene in the murky depths of the Rhine. Casting was strong all down the line, with a very fine trio of Rhinemaidens (Diane Kesling stood out, and Kaaren Erickson and Meredith Parsons were both very good...though I did feel they gave a bit too much vibrato at times).
Franz Mazura (above) as Alberich arrived on the scene and seized our imagination with his huge, thrustingly creepy voice, full of darkest intent. He was a fabulous Alberich, tireless in his vocal and dramatic commitment. Could this bizarre creature be more powerfully portrayed? Mazura's generous artistry assured his huge success in the role: he made the character seem so real.
Above: the Lord of This RING: Hans Sotin. He was in top form for a really impressive Wotan, immediately showing his vocal authority in his opening conversation with Fricka. His voice - large and steady and even from top notes down to the depths - created a real sense of majesty. [Sotin, as it turns out, sang his final Met Wotans in these performances].
Helga Dernesch (above): her fascinating voice and truly intense emotional involvement brought Fricka to life - incredibly powerful, with her deep lower voice and somewhat insecure top which curiously adds to her appeal.
Her siblings were Gary Bachlund as Froh, revealing an embryonic heldentenor of some warmth; James Courtney as a sturdy Donner; and Mari-Anne Häggander, who made a great deal out of Freia's brief role with her vulnerable appearance and full, clear lyric soprano.
The giants were especially good: John Macurdy's voice (Fasolt) sounded huge, and Matti Salminen (Fafner) let his oily tones roll out with great dramatic force - super! Horst Hiestermann was a vivid Mime, but I found Graham Clark's Loge did a bit too much prancing physically; and I guess I prefer more heldentenorish sound in the role, though Clark surely did sing musically and with clarity and good carrying power. Gweneth Bean's large, rich voice created a really glorious impression as Erda - she just poured the tone out!
At the end, a very enthusiastic reception for everyone - especially Bean, Dernesch, and Levine. Very exciting inaugural night of my RING! There were many moments when chills passed thru me: a sensation that is not often experienced at the opera these days. Mazura in particular thrilled me in this way with his theft of the gold and again as he placed his curse on the Ring. So exciting!"
Metropolitan Opera House
May 1, 1989
DAS RHEINGOLD
Wotan...................Hans Sotin
Fricka..................Helga Dernesch
Alberich................Franz Mazura
Loge....................Graham Clark
Erda....................Gweneth Bean
Fasolt..................John Macurdy
Fafner..................Matti Salminen
Freia...................Mari-Anne Häggander
Froh....................Gary Bachlund
Donner..................James Courtney
Mime....................Horst Hiestermann
Woglinde................Kaaren Erickson
Wellgunde...............Diane Kesling
Flosshilde..............Meredith Parsons
Conductor...............James Levine